Popular Culture Review Vol. 3, No. 2, August 1992 | Page 77

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recordings. The popular maxim about parties—"out of beer, out of
luck"—was not the only norm operative for determining whether to
stay or leave. Guests wanted stock situations in which they could
maneuvre socially; too many idiosyncratically chosen songs required
them to have more of a unique identity which nutde it difficult to
behave .in a more generic, "wild" way. Too many idiosyncratically
chosen songs meant they had fewer instances for participating with
familiar lyrics and moving to a strong beat-opportunities which also
served as signs which invited license for wildness to act out a stock
social role. Even worse, they felt they might even get stuck not
knowing any songs and thus feeling or looking "out of it." Hosts who
were acknowledged as throwing good parties were rhetorically
canny; they made sure not only that there were large quantities of
drink and food available, they made sure the musical mix provided
many and varied chances to "act crazy." In general, hosts were
admired for how well they generated a "pumped" mood by means of
music and other artifacts.
Guests appreciated the various
opportunities provided and the consequent freedom to socialize.
Hosts who wanted guests to interact more through
conversation played quieter music and avoided music commonly
accepted as signifying license for wild behavior. The quiet party
mood could be recognized by guests from the music alone, especially
since the absence of particular songs or raucous styles was conspicuous.
In addition the appearance of any specific piece was difficult to
predict because the host had chosen pieces as novelties to enjoy. The
taped artifacts were intended to encourage delight in the musical
novelty as well as delight in each others' conversation as opposed to
providing stereotypical opportunities to act wild.
While sexual interest may have been aroused during the
course of quiet conversation at the smaller gatherings among friends,
sexual behaviors, especially gestures, were far more subtle than those
observed at bashes. Hosts still wanted to offer guests opportunities
for interaction, but without sexual expression being a major focus.
Hosts at the smaller gatherings often steered conversational topics
away from sex at signs of discomfort from one or more guests. The
music which played concurrently was frequently mentioned by hosts
as a diversion from provocative talk. However, even though the
music could become a topic for conversation, it was usually perceived